Carmignola Vivaldi

• Giuliano Carmignola Vivaldi
• Carmignola Violin Vivaldi
• Carmignola Vivaldi Four Seasons
• Carmignola Vivaldi Con Moto

Audio Samples

1. Vivaldi. Giuliano Carmignola, Venice Baroque Orchestra, Andrea Marcon – Late Vivaldi Concertos Label: Sony Classical – SK 87733, Sony Classical –.
2. This latest release focuses on concerti for two violins and has all the hallmarks of Carmignola’s approach to Vivaldi: heightened sense of color, drama and tonal variation, as well as his trademark virtuosity. His dueling partner Amandine Beyer is fully up to the task, as is the band, Gli Incogniti.

1. Vivaldi — Concerto for Violin Strings and Harpsichord in G Minor, R. 320: I. Allegro
2. Vivaldi — Concerto for Violin, Strings and Harpsichord in C, R. 190: I. Allegro
3. Vivaldi — Concerto for Violin, Strings and Harpsichord in C, R. 190: II. Largo
4. Vivaldi — Concerto for Violin, Strings and Harpsichord in C, R. 190: III. Allegro
5. Vivaldi — Concerto for Violin, Strings and Harpsichord in D, R. 217: I. Allegro
6. Vivaldi — Concerto for Violin, Strings and Harpsichord in D, R. 217: II. Largo
7. Vivaldi — Concerto for Violin, Strings and Harpsichord in D, R. 217: III. Allegro
8. Vivaldi — Concerto for Violin, Strings and Harpsichord in G Minor, R. 311: I. Allegro
9. Vivaldi — Concerto for Violin, Strings and Harpsichord in G Minor, R. 311: II. Largo
10. Vivaldi — Concerto for Violin, Strings and Harpsichord in G Minor, R. 311: III. Allegro
11. Vivaldi — Concerto for Violin, Strings and Harpsichord in G Minor, R. 325: I. Allegro molto
12. Vivaldi — Concerto for Violin, Strings and Harpsichord in G Minor, R. 325: II. Largo
13. Vivaldi — Concerto for Violin, Strings and Harpsichord in G Minor, R. 325: III. Presto
14. Vivaldi — Concerto for Violin, Strings and Harpsichord in G, R. 202: I. Allegro molto
15. Vivaldi — Concerto for Violin, Strings and Harpsichord in G, R. 202: II. Largo
16. Vivaldi — Concerto for Violin, Strings and Harpsichord in G, R. 202: III. Allegro

Artists

Read about Guiliano Carmignola by Vivaldi Violin Concerto in E minor, RV278 and see the artwork, lyrics and similar artists.

Emotional Vivaldi Le Humane Passioni - 5 Violin Concertos songs Rather than issue the Antonio Vivaldi concerto recordings by Giuliano Carmignola and Sonatori de la Gioiosa Marca by opus number order or collection title – a really boring way to do business – the Swiss Divox label has gone the thematic route and the latest in the series is called “Le Humane Passioni” The Human Passions. Violinist Giuliano Carmignola and the Venice Baroque Orchestra use a slightly different scoring of Vivaldi's masterpiece, the 1996 Ricordi critical edition, and somehow unveil world premieres of three Vivaldi concertos. Their period-instrument performance.

- Andrea Marcon
- Giuliano Carmignola
- Venice Baroque Orchestra

Album Summary

• '/>Marcon, Andrea

• '/>Venice Baroque Orchestra

Giuliano Carmignola Vivaldi

• '/>Antonio Vivaldi (1678 - 1741)

Notes & Reviews 1:

'While not quite as musically distinguished or as fancifully adorned with the characterful stylistic touches and abundance of memorable tunes we've heard on some other releases in Carmignola and Marcon's series of Vivaldi concertos (both on Archiv and Sony), there's no shortage of drama and dazzling virtuosity on display in these five concertos, which the producers claim are first recordings. Carmignola never disappoints, and you can be assured that he won't let you down here in terms of sheer artistry, which includes healthy doses of personality and style. As I've said before in reviews of this violinist's Vivaldi performances, when he plays you're never sure how much is Vivaldi and how much is the soloist--there's so much passion and fire in the execution. But performer and composer seem so compatible, everything seems so right--the quick and furious runs, the gritty spiccato, the blink-of-an-eye ornaments, the beguiling singing in the slow movements, the bowing that sounds absolutely enchanted, flying at impossible speed above and across the strings--that you have to believe that you've never really heard Vivaldi before. Aided and abetted by Andrea Marcon and one of the world's top Baroque-period orchestras (the precision, energy, and vibrant sound of this ensemble is a marvel all its own), not to mention the clear, you-are-there sonics, Carmignola offers yet another reason to revisit and reconsider this prolific and oft-maligned composer, who at best was a genius, and at other times was nothing less than a consummate master of idiom and technique, especially regarding the violin: no one wrote more outlandish, outrageously challenging, audience-pleasing music for that instrument, and no one is better suited to show off its attributes than Carmignola.' -Classics Today

BBC Music Magazine
Six unfamiliar concertos... show how skilled Vivaldi was at turning baroque clichés in unexpected directions. Carmignola finds wit in the first, and tenderness in the second, all articulated through subtle rubato which grows naturally out of the music. ...he's admirably partnered by the orchestra, which phrases sensitively, and knows when to attack the music, and when to be more yielding. A sparkling issue.

Gramophone Classical Music Guide
Giuliano Carmignola and the Venice Baroque Orchestra here return to the all-Vivaldi format which has so far served them well. Given that the concertos on this release are advertised as world premiere recordings, that seems sensible enough. The mushrooming of the Vivaldi catalogue means that the excitement of hearing 'new' works can be as immediate as if he were still working among us today; and where we used to know but a handful of (mostly early) concertos, we are now becoming more aware of different stylistic periods, as well as the cross-fertilisation with other areas of his output.
Three of the works here show affinities with vocal works from the 1720s, when the brusque energy of the L'estro armonico concertos had been left behind in favour of something more dance-like; the other two are in the expansive, laid-back style of the 1730s. It is a little voyage of discovery, then, with the scenery including much harmonic resource and violinistic devilry.
There are no surprises in the performances though: they are as purringly beautiful as ever from these artists. Carmignola dashes around Vivaldi's scampering passagework and giant leaps with an easy control and consistency of good tone, and the Venice Baroque Orchestra are worthy partners - their surging rivers of sound in the finale of RV325 give a real thrill. Indeed, while one can imagine violinists of the Manze or Biondi kind finding more drama or humour in this music, it is otherwise hard to find anything to fault in these Rolls-Royce performances.

Reviews

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Artist Biography by Joseph Stevenson

Italian violinist Giuliano Carmignola is one of Europe's best soloists specializing in the Baroque violin.

He was born to a musical family and started playing violin at the age of five, taught by his violinist father, Antonio Carmignola. Eventually he studied at the Conservatorio Benedetto Marcello in Venice, where his teachers were Luigi Ferro and Sergio Lorenzi. Commentators remark on the cantabile Venetian quality to his playing.

He went on to attend the Accademia Musical Chigiana in Siena, where he had master classes with the great violinists Nathan Milstein and Franco Gulli. He also took master classes with Henryk Szeryng at the Conservatory of Geneva.

Carmignola began his performing career by successfully competing in several international competitions. Early in his career he had a break when he took over from his teacher Ferro during a tour with his ensemble, the Virtuosi di Roma, to major concert halls of Europe and the United States.

From Ferro he also derived a strong interest in the Baroque music of the early eighteenth century, particularly those of the Venetian school, which included Antonio Vivaldi. He finds the sound of the violin when set up as in the Baroque time (no chin rest, flatter bridge, gut strings, and a bow that bends outward rather than inward and hence is applied to the strings with a very different touch) to be especially charming. He prefers this set-up, rather than the mere fact that his favored instrument, a Pietro Guarneri violin, was made in Venice in 1733, during the Baroque era.

Carmignola Violin Vivaldi

Carmignola became concertmaster of the orchestra of Venice's main opera theater, the Teatro La Fenice, in 1978 and remained in that position until 1985. He has played Classical and Romantic chamber music on standard-type instruments with leading soloists and ensembles, and has appeared with major orchestras conducted by maestros of the caliber of Claudio Abbado, Peter Maag, Eliahu Inbal, and Giuseppe Sinopoli.

Carmignola Vivaldi Four Seasons

He began working with Italian period instrument specialty groups, primarily the Sonatori de la Gioioas Musica, then with the Venice Baroque Orchestra, one of Italy's primary early music ensembles, led by Andrea Marcon, who inspired Carmignola's interest in the texts of music of this era. This has led Carmignola to do his own research into the scores and sources of the Baroque Italian violin repertory. To his performances of Vivaldi's The Four Seasons, released in 2000, he and Marcon brought new nuances to the solo part and the treatment of the thorough bass part, as well as an approach to link the concertos to the idea of the change of the seasons in Venice, specifically. On the same release, Carmignola also introduced three Vivaldi violin concertos that appear never to have been recorded before. In 2013 he recorded more late Vivaldi concertos, this time with Ottavio Dantone and Accademia Bizantia.

Carmignola Vivaldi Con Moto

Carmignola is a frequent participant in leading Baroque music festivals throughout Europe, including Bruges, Vienna, Brussels, Barcelona, Salzburg, and Lucerne. In 1999, he was appointed a professor of violin at the Lucerne Hochschule für Musick, and in the 2000 summer term was a professor of music at the Accademia Musicale Chigiana. He previously was a professor of violin for ten years at the Marcello Conservatory in Venice.